DOCSLIB.ORG

California State University, Northridge Underneath

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE UNDERNEATH HER SKIRT: STAGING SAMUEL BECKETT’S HAPPY DAYS AS AN EMBODIMENT OF BETTY FRIEDAN’S THE FEMININE MYSTIQUE A graduate project submitted in partial fulfillment of the requirements For the degree of Masters of Arts in Theatre By Cheryl Lynn Wanless May 2014 The graduate project of Cheryl Lynn Wanless is approved: __________________________________ ____________________ Ah-Jeong Kim, Ph.D. Date __________________________________ ____________________ Leigh Kennicott, Ph.D. Date __________________________________ ___________________ J’aime Morrison-Petriono, Ph.D., Chair Date California State University, Northridge ii Acknowledgements This graduate project would not be possible without God and St. Monica Catholic Church. Thank you to my family for pushing me to continue. I would like to thank Dr. Peter Larlham at San Diego State University for introducing me to the great plays of Samuel Beckett. Dr. Morrison, thank you for sharing your extensive knowledge of Beckett, as working with you has been both challenging and rewarding. I am very fortunate to have learned so much about Irish Theater from you. Someday I hope to visit Synge’s chair. Beckett is definitely worth the work. Dr. Kennicott and Dr. Kim, thank you for being on my committee. I am indebted to set designer Tony Cisek for emailing me back with such kind and inspirational words about the characters of Winnie and Willie. I feel your inspiration for your rendition of Beckett’s mound tied this whole project together with a final ribbon and reminded me why I started in the first place. Artists think alike in different corners of the world. To my little sister, Debbie, thanks for your input! I would also like to thank Charles E. Young Research Library at UCLA where I spent many tiring weekends and weeknights working on my research when I wasn’t working full-time. Nothing worth having comes easy. Thank you to my supportive and encouraging friends and colleagues, especially Erin, Janee, Darcy, Gloria, Stephanie, Tova, Seanan, Allison, Kristin, Charrisa, both Nicole’s, and Alex. Thank you all for listening to me and inspiring each in your own special way throughout the challenging iii process of my developing my graduate project and working towards my masters degree while working full-time and lacking an exciting social life!!! Finally, thank you to both Betty Friedan and Samuel Beckett for the everlasting impression they have had on the world and my life. Cheers to Winnie, for going down singing while fighting the never- ending battle that all women fight. iv Dedication This graduate project is dedicated to my family: Mom, Dad, Ali, Deb, Kevin, Karin, and Aunt Patty. Thank you for your continued love and endless support throughout this project and all the projects I have pursued over the years. Mom and Dad, thank you especially for teaching me the value of education and introducing me to great literature. v Table of Contents Signature Page ii Acknowledgments iii Dedication v List of Illustrations vii Abstract xi Introduction 1 Chapter 1 16 Betty Friedan’s The Feminine Mystique and Samuel Beckett’s Happy Days Chapter 2 45 A Closer Look at the Mound in Samuel Beckett’s Happy Days Chapter 3 62 My Rendition of the Mound from Samuel Beckett’s Happy Days Conclusion 73 Bibliography 88 Appendix A: Advertisements 95 Appendix B: Photographs of Various Renditions of the Mound 111 Appendix C: My Rendition of the Mound: Visual Inspiration, Sketch, Model 118 vi List of Illustrations Illustration Page 1: In Sink Erator garbage disposal advertisement, 1959 95 2: Frigidaire Built-In advertisement, 1957 96 3: Frigidaire Built-In advertisement, 1957 97 4: Frigidaire Built-In advertisement, 1959 98 5: Tide Soap Detergent Advertisement, 1953 99 6: Lewyt Power Cleaner Vacuum Cleaner Advertisement, 1956 100 7. MaxFactor Pan-Cake Make-up Advertisement, 1959 101 8. Sanitone Dry Cleaning Advertisement, 1959 102 9: Cocktail party hosting idea advertisement, 1958 103 10: Cocktail party hosting idea advertisement, 1958 104 11: Bernhard Altman Clothing Advertisement, 1960 105 12: Regina Electrik Broom Vacuum Advertisement, 1959 106 13: Advertisement from Giorgio Armani Cosmetic Campaign, 2011 107 14: Botox Advertisement, 2014 108 15: Ronay purse advertisement, 1959 109 16: Bufferin advertisement, 1959 110 vii 17: Director Jose Carrasquillo’s 2011 version of Happy Days, 111 designed by set designer Tony Cisek, at the WSC Avant Bard Theater in Arlington,Virginia 18: Director Jose Carrasquillo’s 2011 version of Happy Days, 111 designed by set designer Tony Cisek, at the WSC Avant Bard Theater in Arlington,Virginia 19: Director Nicholas Monu’s 2013 rendition of the mound in 112 Glückliche Tage at Theater Krefeld in Germany, designed by Udo Hesse 20: Director Nicholas Monu’s 2013 rendition of the mound in 112 Glückliche Tage at Theater Krefeld in Germany, designed by Udo Hesse 21: Photo of Mabou Mines’ 1998 version of the mound 113 from Beckett’s Happy Days at the Community Center in New York City, directed by Robert Woodruff and designed by Doug Stein 22: Photo of Mabou Mines’ 1998 version of mound 113 from Beckett’s Happy Days at TORONADA, directed by Robert Woodruff, designed by Doug Stein 23: Director André Brassard’s 2008 violet, post-apocalyptic 114 viii version of the mound from Happy Days or Les Beaux Jours in Quebec 24: Director André Brassard’s 2008 violet version of the mound 114 from Happy Days or Les Beaux Jours in Quebec 25: Photo of director Andrea Mata’s 2010 version of Samuel Beckett’s mound 115 in Días Felices with the Pluie Group at the Cultural Center of Spain 26: Photo of director Andrea Mata’s version of Samuel Beckett’s mound 115 in Días Felices with the Pluie Group at the Cultural Center of Spain 27: Mark Lamos’ 2010 version of Happy Days 116 at Westport Country Playhouse in Westport, Connecticut, designed by John Arnone 28: Mark Lamos’ 2010 version of Happy Days 116 at Westport Country Playhouse in Westport, Connecticut, designed by John Arnone 29: Robert Wilson’s 2008 version of the mound from Beckett’s Happy Days 117 at the Spoleto Festival in Italy 30: Robert Wilson’s 2008 version of the mound from Beckett’s Happy Days 117 at the Spoleto Festival in Italy ix 31: Photo of new Entrepreneur Barbie Doll, launched by Mattel, 2014 118 32: A sketch of my version of the mound from 119 Samuel Beckett’s Happy Days 33: A photograph of my version of the mound from 120 Samuel Beckett’s Happy Days 34: A photograph of my version of the mound from 121 Samuel Beckett’s Happy Days 35: A photograph of the vintage Barbie doll used to represent Winnie 122 in my version of the mound from Samuel Beckett’s Happy Days 36: Photograph showing a closer look at the various miniature items used in my 123 version of the mound from Samuel Beckett’s Happy Days x ABSTRACT UNDERNEATH HER SKIRT: STAGING SAMUEL BECKETT’S HAPPY DAYS AS AN EMBODIMENT OF BETTY FRIEDAN’S THE FEMININE MYSTIQUE By Cheryl Lynn Wanless Master of Arts in Theatre This graduate project explores the struggle of Winnie in Samuel Beckett’s 1960 play Happy Days through the lens of Betty Friedan’s 1963 book The Feminine Mystique. Both works feature women, housewives in particular, who are physically and metaphorically trapped. By studying contemporary literature by feminist authors, including Debora L. Spar, Sheryl Sandberg, and Naomi Wolf, I explore how the societal pressures faced by Winnie and the women presented by Betty Friedan continue to entrap and inhibit both working women and housewives today. As the advertisements of the 1950s and 1960s xi glorified the domesticated housewife role, contemporary works will be explored in this project as well, such as director Jennifer Siebel-Newsom’s 2011 documentary Miss- Representation, which shows how heavily the media continues to influence women with sexist images. By leading women to micromanage themselves, obsess over household issues such as cleaning and fixating on their looks, oppressive media images steer women away from pursuing independent careers, positions of power, and hobbies which are imperative for self-fulfillment. Winnie remains encased within the confines of the feminine mystique as it takes on the form of a mound. While the women Friedan discusses and interviews speak of an identity crisis and a feeling of nonexistence, Winnie actually embodies it. I will create my own version of the mound from Happy Days by using articles Friedan references within her book, fashion images, household appliances, cleaning supplies, style, and advertisements of the late 1950s and early 1960s eras. I will research seven versions of the mound for reference. xii Introduction A strong theme of female entrapment ties together both the play Happy Days by Samuel Beckett (1960) and the groundbreaking book The Feminine Mystique by Betty Friedan (1963). Both works feature women, housewives in particular, who are physically and metaphorically trapped. Betty Friedan was a trailblazer for women. Her legacy lives on today. Although she wrote many articles and books which addressed the inequalities and oppression faced by women in the 1950s and 1960s, one remains the most impactful: The Feminine Mystique. This work led to her fighting for equal rights for women as well as her developing many organizations for women’s equality. The references and articles addressed in this book are still relevant today, as current writers such as Sheryl Sandberg and Naomi Wolf explore the restrictions and pressures women face while trying to pursue careers and personal endeavors amidst societal and media pressures to fulfill stereotypical female roles. Friedan firmly stated, “The feminine mystique has succeeded in burying millions of American women alive” (Friedan 336). This statement remains a relevant current topic in that the success of the feminine mystique lies in its endurance and ability to reinvent itself in every era, using various media to oppress women.
Recommended publications
  • Naomi Ramage ENGL 339 – Beckett and Pinter Prof Hale Play Reviews – “Krapp’S Last Tape”

    Naomi Ramage ENGL 339 – Beckett and Pinter Prof Hale Play Reviews – “Krapp’S Last Tape”

    Naomi Ramage ENGL 339 – Beckett and Pinter Prof Hale Play reviews – “Krapp’s Last Tape” Tynan, Kenneth. Rev. of “Krapp’s Last Tape”, by Samuel Beckett. Samuel Beckett: The Critical Heritage. Ed. L. Graaver and R. Federman. London and New York: Routledge, 1979. 2 Nov. 1958: 189-192. Print. In this highly critical review of “Krapp’s Last Tape,” Kenneth Tynan writes a short parody of Beckett’s play entitled “Slamm’s Last Knock.” Tynan’s critiques of the play are scattered throughout this piece and embedded in the narration and dialogue of the fake play, such as on the crumpled pieces of paper that read “Just another dose of nightmare gibberish from the so-called author of ‘Waiting for Godot’” (190). Near the end, the supporting character Seck launches into longer segments of monologue-like dialogue that directly express Tynan’s views, such as “Unique, oblique, bleak experience, in other words, and would have had same effect if half the words were other words. Or any words” (191). Brustein, Robert. Rev. of “Krapp’s Last Tape”, by Samuel Beckett. Samuel Beckett: The Critical Heritage. Ed. L. Graaver and R. Federman. London and New York: Routledge, 1979. 22 Feb. 1960: 192-193. Print. Drama critic and professor Robert Brustein highly praises “Krapp’s Last Tape” as being “very possibly [Beckett’s] best, dramatic poem about the old age of the world” (191). While still focused on such usual subjects of absurd theater as “the alienation, vacuity, and decay of life upon a planet devoid of God and hope,” the critic argues that this work is fresh in its “extraordinary economy of the writing, the absolute flawlessness of the form” (192).
  • Beckett & Aesthetics

    Beckett & Aesthetics

    09/25/21 Beckett & Aesthetics | Goldsmiths, University of London Beckett & Aesthetics View Online 1. Beckett, S.: Watt. John Calder, London (1963). 2. Connor, S.: ‘Shifting Ground: Beckett and Nauman’, http://www.stevenconnor.com/beckettnauman/. 3. Tubridy, D.: ‘Beckett’s Spectral Silence: Breath and the Sublime’. 1, 102–122 (2010). 4. Lyotard, J.F., Bennington, G., Bowlby, R.: ‘After the Sublime, the State of Aesthetics’. In: The inhuman: reflections on time. Polity, Cambridge (1991). 5. Lyotard, J.-F.: The Sublime and the Avant-Garde. In: The inhuman: reflections on time. pp. 89–107. Polity, Cambridge (1991). 6. Krauss, R.: LeWitt’s Ark. October. 121, 111–113 (2007). https://doi.org/10.1162/octo.2007.121.1.111. 1/4 09/25/21 Beckett & Aesthetics | Goldsmiths, University of London 7. Simon Critchley: Who Speaks in the Work of Samuel Beckett? Yale French Studies. 114–130 (1998). 8. Kathryn Chiong: Nauman’s Beckett Walk. October. 86, 63–81 (1998). 9. Deleuze, G.: ‘He Stuttered’. In: Essays critical and clinical. pp. 107–114. Minnesota University Press, Minneapolis (1997). 10. Deleuze, G., Smith, D.W.: ‘The Greatest Irish Film (Beckett’s ‘Film’)’. In: Essays critical and clinical. pp. 23–26. Minnesota University Press, Minneapolis (1997). 11. Adorno, T.: ‘Trying to Understand Endgame’. In: Samuel Beckett. pp. 39–49. Longman, New York (1999). 12. Laws, C.: ‘Morton Feldman’s Neither: A Musical Translation of Beckett’s Text'. In: Samuel Beckett and music. pp. 57–85. Clarendon Press, Oxford (1998). 13. Cage, J.: ‘The Future of Music: Credo’. In: Audio culture: readings in modern music. pp. 25–28.
  • MASARYKOVA UNIVERZITA PEDAGOGICKÁ FAKULTA Katedra Anglického Jazyka a Literatury

    MASARYKOVA UNIVERZITA PEDAGOGICKÁ FAKULTA Katedra Anglického Jazyka a Literatury

    MASARYKOVA UNIVERZITA PEDAGOGICKÁ FAKULTA Katedra anglického jazyka a literatury AXIOLOGICAL DYNAMICS IN SAMUEL BECKETT'S PLAYS Diplomová práce Brno 2015 Autor práce: Vedoucí práce: Bc. Monika Chmelařová Mgr. Jaroslav Izavčuk Anotace Předmětem diplomové práce Axiologické proměny v dramatickém díle Samuela Becketta je analýza Beckettových her s tematicky vyměřenou interpretací za účelem stanovení prvků v axiologické rovině. Stěžejním cílem práce je vymezení klíčových hodnot v autorově dramatické tvorbě, obsáhnutí charakteru a stimulů axiologické dynamiky. Práce je založena na kritickém zhodnocení autobiografie a vývoje hodnotové orientace Samuela Becketta na poli osobním i autorském, a to při posouzení vývoje hodnot již od počátku autorova života a tvorby. Beckettovy hry jsou výsledkem již vlastní specifické poetiky; práce si dává za cíl sledovat, co přispělo k jejímu utvoření, jaké hodnoty jsou v jeho dramatu zastoupeny a jakým způsobem se jeho dramatická tvorba axiologicky vyvíjí. Výstupem práce je kritický pohled na co nejkomplexnější autorovo dramatické dílo z pohledu hodnot a stanovení příčin těchto proměn, a to v tematicko-komparativním a diachronním (tj. chronologickém) pojetí. Abstract The subject of the diploma thesis Axiological Dynamics in Samuel Beckett's Plays is a thematically determined interpretation with the intention to determine features within the axiological level. The crucial part of the thesis is the determination of significant values in author's dramatic works, characterization of nature and stimuli of axiological dynamics. The thesis is based on critical evaluation of autobiography and development of value orientation of Samuel Beckett in private and authorial fields, i. e. with consideration of the development of values from the beginning of author's life and work.
  • An Analysis of Hegemonic Social Structures in "Friends"

    An Analysis of Hegemonic Social Structures in "Friends"

    "I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season.
  • Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam

    Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam

    ‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8).
  • The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works

    The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works

    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it.
  • “Oh, Happy Days”: Milwaukee & the Wisconsin Dells

    “Oh, Happy Days”: Milwaukee & the Wisconsin Dells

    Moderate May 31 to June 6, 2021 11 6 Pace “Oh, Happy Days”: Milwaukee & The Wisconsin Dells Milwaukee lies along the shores of Lake Michigan at the union of three rivers – the Menomonee, the Kinnickinnic and the Milwaukee. Known for its breweries, the MLB Brewers, and a “big city of little neighborhoods”, Milwaukee’s unique neighborhoods create a one of a kind culture, where you’ll see architecture designed by Frank Lloyd Wright. The city was also made famous by the TV series “Happy Days” and “Laverne & Shirley”. Delight in a selfie with a bronze statue of the “Fonz”! Experience the natural beauty, wonder and mystery of the Wisconsin Dells during a leisurely boat cruise. Ride in a quaint horse-drawn carriage through a mile of cliff walled gorges. Visit the International Crane Foundation, a nonprofit conservation organization protecting cranes and conserving ecosystems, watersheds and flyways on which the cranes depend. Tour Highlights & Inclusions • Deluxe coach transportation with wifi, air-conditioned, washroom equipped • Two-nights’ accommodation at the Hampton Inn of Holland, MI • Two-nights’ accommodation at the Drury Plaza Hotel Milwaukee Downtown • Two-nights’ accommodation at the Hampton Inn & Suites Wisconsin Dells • Breakfast daily, one box lunch and four dinners • Guided tour of Milwaukee, and the International Crane Foundation • Lost Canyon Tour on horse drawn carriage • Tour two of Frank Lloyd Wright’s designs – SC Johnson Headquarters, and Annunciation Greek Orthodox Church • Guided tour of the Harley-Davidson Museum, Pabst
  • National Prohibition and Jazz Age Literature, 1920-1933

    National Prohibition and Jazz Age Literature, 1920-1933

    Missouri University of Science and Technology Scholars' Mine English and Technical Communication Faculty Research & Creative Works English and Technical Communication 01 Jan 2005 Spirits of Defiance: National Prohibition and Jazz Age Literature, 1920-1933 Kathleen Morgan Drowne Missouri University of Science and Technology, [email protected] Follow this and additional works at: https://scholarsmine.mst.edu/eng_teccom_facwork Part of the Business and Corporate Communications Commons, and the English Language and Literature Commons Recommended Citation Drowne, Kathleen. "Spirits of Defiance: National Prohibition and Jazz Age Literature, 1920-1933." Columbus, Ohio, The Ohio State University Press, 2005. This Book is brought to you for free and open access by Scholars' Mine. It has been accepted for inclusion in English and Technical Communication Faculty Research & Creative Works by an authorized administrator of Scholars' Mine. This work is protected by U. S. Copyright Law. Unauthorized use including reproduction for redistribution requires the permission of the copyright holder. For more information, please contact [email protected]. Drowne_FM_3rd.qxp 9/16/2005 4:46 PM Page i SPIRITS OF DEFIANCE Drowne_FM_3rd.qxp 9/16/2005 4:46 PM Page iii Spirits of Defiance NATIONAL PROHIBITION AND JAZZ AGE LITERATURE, 1920–1933 Kathleen Drowne The Ohio State University Press Columbus Drowne_FM_3rd.qxp 9/16/2005 4:46 PM Page iv Copyright © 2005 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Drowne, Kathleen Morgan. Spirits of defiance : national prohibition and jazz age literature, 1920–1933 / Kathleen Drowne. p. cm. Includes bibliographical references and index. ISBN 0–8142–0997–1 (alk. paper)—ISBN 0–8142–5142–0 (pbk.
  • Canyon Theatre Guild Presents

    Canyon Theatre Guild Presents

    Canyon Theatre Guild presents HAPPY DAYS A NEW MUSICAL Book by Garry Marshall Music and Lyrics by Paul Williams “Happy Days - A New Musical (Full Length Version)” is presented by special arrangement with SAMUEL FRENCH, INC. Presented in part by and Directed by Ingrid Boydston 1st Assistant Director ............................................................ Ines Roberts 2nd Assistant Director .......................................................... Nancy Lantis Choreographer ........................................................ Annette Sintia Duran Mentor Choreographer ..................................................... Musette Caing Fight Choreographer ............................................................ Brad Sergie Vocal Directors ..................................... Carla Bellefeuille & Jack Matson Stage Manager .................................................................... Ines Roberts Assistant Stage Manager ......................................................... Kait LaVo Costumes ........................................................................... Nancy Lantis Set Designer ....................................................................... Jim Robinson Set Decorator ..................................................................... Patrick Rogers Sound Design ............................................. SteVen “Nanook” Burkholder Sound Technician .................................................................. John Boyer Co-Lighting Designers ................. Mackenzie Bradford & Jacob
  • Rhythms in Rockaby: Ways of Approaching the Unknowable

    Rhythms in Rockaby: Ways of Approaching the Unknowable

    83 Rhythms in Rockaby: Ways of Approaching the Unknowable. Leonard H. Knight Describing Samuel Beckett's later, and progressively shorter, pieces in a word is peculiarly difficult. The length of the average critical commentary on them testifies to this, and is due largely to an unravelling of compression in the interests of meaning: straightening out a tightly C9iled spring in order to see how it is made. The analogy, while no more exact than any analogy, is useful at least in suggesting two things: the difficulty of the endeavour; and the feeling, while engaged in it, that it may be largely counterproductive. A straightened out spring, after all, is no longer a spring. Aware of the pitfalls I should nevertheless like, in this paper, to look at part of the mechanism while trying to keep its overall shape relatively intact. The ideas in a Beckett play emerge, in general, from an initial image. A woman half-buried in a grass mound. A faintly spotlit, endlessly talking mouth. Feet tracing a fixed, unvarying path. Concrete and intensely theatrical, the image is immediately graspable. Its force and effectiveness come, above all, from its simpl­ icity. Described in this way Beckett's images sound arresting to the point of sen­ sationalism. What effectively lowers the temperature while keeping the excitement generated by their o.riginality is the simple fact that they cannot easily be made out. They are seen, certainly - but only just. In the dimmest possible light; the absolute minimum commensurate with sight. What is initially seen is only then augmented or reinforced by what is said.
  • What Are They Doing There? : William Geoffrey Gehman Lehigh University

    What Are They Doing There? : William Geoffrey Gehman Lehigh University

    Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context ..................................
  • Samuel Beckett's Plays: a Psychoanalysis

    Samuel Beckett's Plays: a Psychoanalysis

    International Journal of Linguistics and Literature (IJLL) ISSN (P): 2319 - 3956; ISSN (E): 2319 - 3964 Vol. 5, Issue 3, Apr - May 2016; 53 - 56 © IASET SAMUEL BECKETT’S PLAYS: A PSYCHOANALYSIS SAHELEH KHEIRABAD P h D Researcher , Pune University , Maharashtra , India ABSTRACT The most important aim of this research is to show psychoanalytic problem in Beckett’s plays. This will be done by describing Beckett’s characters, as well as Beckett himself, ideas about identity and existence in three of his major plays: Waiting for Godot , Endgame , and Happy Days . Beckett’s father dead when he was in his mid - twenties. So, when he lost his father due to personal loss his mental and his physical health. He had night sweats, fear and anxiety. He couldn’t sleep on his bed alone. Dur ing the therapy sessions, Bion has suggested that he should write in order to release the pain and the inner struggle. Consequently, in a way, writing became a therapeutic tool for Samuel. So, Beckett’s writing helped him to treat himself. That is why there are signs of psychoanalysis on Beckett’s plays and Beckett’s characters. Samuel Beckett’s Waiting for Godot , in this article the aim is analyzing the two characters of Vladimir and Estragon in order to investigate their identity. These two characters put their whole existence into waiting. They are waiting for Godot all times. They believe that Godot will have all the answers of their questions. Beckett shows the unconscious mind of his characters, so we analyzed the play with psychoanalytic lens.